MetalSucks

In no particular order…

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Former Godflesh/current Jesu mastermind Justin Broadrick has a Twitter account. Now while this could be troublesome/groanworthy news for some characters prone to oversharing (though certainly not in Metal Sucks’ case), for Broadrick, it seems fitting, given his prolific approach to music. His output is measured in months, not years, as is the case with most bands. To look at Jesu in its own timeline yields a recent string of iffy releases, like the band’s extremely boring split with Eluvium (repackaged as the Why We Are Not Perfect EP), and two so-so contributions to splits with Envy and Battle of Mice (though so-so in the most literal sense of the phrase, in that each split contained one song that was meandering and seemingly pointless, and one that stood among the best Broadrick has done under the Jesu moniker). However, to look at it in a regular spectrum, that was only 2008; one only needs to reach back to 2007 to find the magnificent full length Conqueror, still in the typical two year gap most artists have between records.

But in JB Time, this is an eternity. One may wonder if the man had knocked himself off kilter, that if Jesu’s best days were behind them. But with Justin Broadrick’s work with beard metal supergroup Greymachine and two releases with Jesu this year, he proves that at the very least has more interesting things to say, if not still capable of putting out the band’s best material in the future. Don’t call it a comeback, because, well, it isn’t. But when those slow, chunky chords first make their appearance on the Infinity full length or that Cure-on-a-7-string beauty rears its head on “Deflated” (off the Opiate Sun EP), it’s immediately clear that the Jesu magic is still there, and that while Justin is prone to get lost in the wilderness, he’s usually on his way back, often times a few months later.

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Metal Legacies is an ongoing memorial to extreme music pioneers who kicked the proverbial bucket way too soon.

[MetalSucks contributor Corey Mitchell managed Eric Powell's band, 16volt, from 1996-1998. He asked Powell to write about his friend and bandmate, Raul Raven, for the Metal Legacies series.]

by Eric Powell

Life. It goes by too fast and comes at you too slow. When you are 14, all you want is to be 16 so you can get the keys to the car and just drive, just drive wherever — fucking freedom. It seems like those two years take forever. You count the milliseconds waiting for your ticket out of hell. Then you blink your eyes and all of a sudden you wonder what happened to your twenties, then your thirties, and it’s all a flash. Those two years you waited for the keys to a car, barely a blip. You look back at all the days and at all the scars, and mostly at the memories, now rich with texture and variance, they blur together weaving a sort of out-of-body, self propelled storyline that hopefully ends with some kind of impact.

At some point in our lives we hopefully realize that everything we do counts for something. A never ending chain of events both understated and exaggerated, and our choices link together to write a tangled, barely understandable life story. We hopefully get to a point where our experience with time develops a conscience — a self-aware state where we appreciate all that we missed and we miss all that we didn’t.

Some are born lucky, falling into a calling early, riding it like a well built clipper attacking uncharted seas, often a rough ride, but the ride never lets them down. It’s a single threaded path holding true to itself, a line drawn by our own internal and elusive drive. These lucky few charge ahead with no rules, saber in hand, slashing and gnawing effortlessly through what seem like goals in life, but come off as merely happenstance.

You can apply this babble to the chosen few who get to play music for a living, who get to tour for a living, who make it into the “club” — a silent brotherhood of merry thieves living on the outskirts of society, in the lounges of tour buses and in the dirty back stage areas of outdated concert venues. Gathering in dark hallways to share stories of their battles over catered liquors and fruit plates, duty free cigarettes, and handheld HD video cameras, a broken generator, a sprained wrist, an amp exploding, Roman candle fights in the middle of Montana. So much that can never be spoken. Things left to the moments and events that will never be uttered, the code keeping everyone’s skeletons secret to only the lucky bastards who get to live and witness the real deal. It all falls under the banner of “Rock and Roll,” right?

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I think that I (and about a hundred other people who write about metal) have extolled the virtues of Decibel editor Albert Mudrian’s Choosing Death many times in the past, but just to be sure: it’s an awesome history of death and grind, and if you’ve never read it, you really, really should. He got pretty much everybody to go on record about the early days of metal’s most extreme subgenres. If you’re new to these styles of music and need a primer, it’s a perfect place to start; if you already love these styles of music, I guarantee you you’ll still learn some shit ya didn’t know.

One of the things that Mudrian spends a good deal of time discussing is John Peel’s old national BBC radio show, which was the place to hear all the best new grind. And now Earache will commemorate Peel’s show with Grind Madness At The BBC (The Earache Peel Sessions), a three disc (!), three and a half hour set that will feature 118 recordings of sessions done on Peel’s show, including performances by Carcass, Extreme Noise Terror, Godflesh, Napalm Death, and a shitload more.

This is obviously a must-own for grind fans. Earache puts the set out on October 12. Mark it in your calendars.

-AR

For awhile now, we’ve been hyping Greymachine, the new project featuring Aaron Turner of Isis and Fighting with Revolver fame and Justin K. Broadrick from Jesu/Godflesh/Naplam Death. And now their debut album, Disconnected, is streaming in full right here.

I actually haven’t had a chance to give it a listen yet, but I’m all about anything and everything with the name “Broadrick” attached. So check out the record and then let us know whatcha think.

-AR

So I’ve been living in the UK for about four months now, and have managed to take in quite a lot of this “culture” thing they’re so fond of over here. I’ve been to nine countries, eight major metal festivals, and a handful of cities in Ol’ Blighty itself; I’ve gate-crashed hotel parties in Norway with the drummer of Swallow the Sun, stage-dived into a sea of muddy grind freaks in the Czech Republic, gotten roaring drunk with Wolves in the Throne Room in the Netherlands, met Gaahl’s boyfriend in France, gotten lost in Rome, watched Electric Wizard blow an amp in Manchester, lost my mind to Eyehategod at Hellfest, seen Manowar (‘nuff said there) – and that was just the first couple months. Between all the metal, mud, bruises, whiskey, calimocho, hard cider, and terrifying Czech liquor (Becherovka and Fernet are no fucking joke, even if it is Kevin Sharp and Danny Herrera pouring you a shot), I realized that, somehow, something was still missing.

To my immense chagrin, I had yet to take that all-too-necessary pilgrimage up through the Black Country and into the Unholy Land itself – to Birmingham, England. Every metaller worth his leather (and several million other music fans besides) knows exactly why this unimpressive, coal-smudged city matters so much. Birmingham is the ancestral home of heavy metal. Everything – whether it be doom, black metal, powerviolence, or even the plague that is deathcore – everything came from here. The famed Mermaid Pub provided a fertile breeding ground for extreme metal, nestled as it was in a dodgy part of town where the cops ignored the punkers and longhairs milling around out front as the early rumblings of a deadly new sound thundered away upstairs The city itself was the original stomping ground of the dirty sexy hard rock’n’roll of Led Zeppelin, the NWOBHM gods in Judas Priest, the crusty proto-grind of Sore Throat, the scummy grindcore forefathers of Napalm Death, the industrial noise terror of Godflesh, and the one and only BLACK FUCKING SABBATH.

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Over seven years have gone by since Godflesh disbanded, and as Justin K. Broadrick’s Jesu project has long ceased to fill that void, moving further and further away from its post-metal roots into something suspiciously palatable to a wider audience. As such, many of those curmudgeons (myself included) longing for the man’s return to nasty, vicious industrial metal wait with baited breath for the August 4 release of Disconnected, the debut album from Greymachine, the vicious supergroup that combines Broadrick with Isis dude Aaron Turner.

Clearly, Hydra Head recognizes that a majority of those interested in this project were Godflesh fans back in the swingin’ 90s, and has opted for a marketing campaign that capitalizes on the awesome power of nostalgia. First, the label released a 12″ promo single for “Vultures Descend” that looked straight out of my college radio days. Taking another step down memory lane, Hydra Head has decided to bundle the pre-order for the new CD with a fucking Cassingle!

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I first wrote about Greymachine last September, when I foolishly thought the band was called Grey Machine; then Gary Suarez wrote about them again back in May. There wasn’t a lot of actual news to report, though; the supergroup – which includes amongst it ranks Justin Broadrick, Isis’ Aaron Turner, Diarmuid Dalton of Godflesh and Jesu and Dave Cochrane of Head of David – had a free single avail for download or purchase on vinyl, but no release date for their full-length.

Well, now they have a release date. August 4 on Hydra Head. Mark it in your calendars.

That free single, “Vultures Descend,” is trippy as fuck, and if the thought of a Broadrick/Turner team-up doesn’t make your dick hard, you must need viagra. Or, y’know, be a lady.

Here’s “Vultures Descend.” We’ll give you more news on the album as we get it.

Grey Machine, “Vultures Descend” – from Disconnected (out August 4 on Hydra Head) [Download]

-AR

I know we have more than a few vinyl purists reading this column, so you’ll likely be interested to know that the Aaron Turner / Justin Broadrick collaboration Grey Machine (which we first told you about back in September) just released a 12″ single for “Vultures Descend” via beardo metal specialists Hydra Head Records.

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Ever wondered what Godflesh’s brilliant song “Anthem” would be like if fully choreographed with a bunch of peppy dancers?

Yeah, me neither.

But it’s a slow news day! So here’s a video some dude made of “Anthem” set to a scene from the movie version of Jesus Christ Superstar. Enjoy. Or don’t. Whatevs.

-AR

Perhaps the only metal video (or any music video?) ever to be made about cock-fighting, Godflesh’s “Crush My Soul” just seems to fit so well with this shunned past-time. Conceptually and lyrically, you’re asking the wrong dude about the connection. Is Justin Broadrick insinuating that chickens’ souls are crushed? Does his soul feel crushed by a chicken? Does cock-fighting crush his soul? Does he just LOVE cock-fighting?

We may never know.

-VN

[kml_flashembed movie="http://youtube.com/v/EkIYr8bXf-I" width="425" height="350" wmode="transparent" /]

Okay, so let’s just get the negative out of the way: I’m not crazy about “Decay,” the opening track from this eagerly anticipated collaboration between the seemingly tireless Justin Broadrick and former Swans vocalist Jarboe. It has a little too much of that kind of Bloody Panda-ish vibe, the one that makes you feel like you’re listening to the longest intro ever when you just want the friggin’ song to start already.

The rest of this album, luckily, is as fucking brilliant as the light bulb that adorns its cover art.

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This is old news by now, but it’s still worth mentioning just for the players involved: former Naplam Death/Godflesh/current Jesu mastermind Justin Broadrick has put together a new project with former Swans vocalist/keyboardist Jarboe, cleverly titled J2 (get it?). It’s not exactly metal – in fact, I think it’s safe to call it electronica – but, hey, it’s Justin Broadrick and Jarboe, so it’s worth your attention.

The first track by the band, “8mmsweetbitter,” can be heard on The End Records’ MySpace page; The End will release the full album on March 18.

-AR